Heginbothams book focuses on Emily Dickinsons work as a deliberate writer and editor. The fascicles were forty small portfolios of her poems written between 1856 and 1864 composed on four to seven stationery sheets folded stacked and sewn together with twine. What revelations might come from reading her poems in her own context Are they simply scrapbooks as some claim or are they evidence of conscious canny editing Read in their original places each lyric becomes differentand more interestingthan when read in isolation. We cannot know why Dickinson compiled the books or what she thought of them but we can observe what she left in them. What she left is visible only by noting the way the poem answers in a dialogue across the pages the way lines spilling onto a second page introduce the next poem the way openings suggest image clusters so that each book has its own network of concerns and languagenot a story or philosophical preachment but an aesthetic wholeness. This book is the first to demonstrate that Dickinsons poetic and philosophical creativity is most startling when the reader observes the individual lyric in the poets own and only context for them. For teacher student scholar and poetry lover Heginbotham creates an important new framework for understanding one of the most complex clever and profound U.S. poets.